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 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Contents

1 1-5 Global and Multicultural Literature

1-5a Global Literature
22
22

Children’s and Adolescent 1-5b Multicultural Literature 25

1-6 Selecting and Using Literature
Literature for Children and Adolescents 32
1 1-6a Considering Literary Excellence 32
1-1 The Power of Literature 5 1-6b Evaluating Cultural Content 32
1-6c Standards, Mandates, Tests,
1-2 Defining Literature for Children and Time to Read 35
and Adolescents 7
1-6d Resources for Selecting Literature 37
1-3 A Brief History of Literature Review Journals 37
for Children and Adolescents 8 Book Awards 37
1-3a The Early Years 8 Websites 37
1-3b The Twentieth Century 8 Summary 38
1-4 Considering Children’s Literature Booklist 38
in the Twenty-First Century 11

2
1-4a Fiction or Nonfiction 11
1-4b Narrative, Poetic, and Expository
Texts 11
Literary Elements in Narrative 11 Literature in the Lives
Style 12
1-4c Genres 12 of Young Readers
Nonfiction 13 41
Folklore 14
Fantasy 15
2-1 A Transactional View of Reading
Literature 44
Science Fiction 15
Contemporary Realistic Fiction 16 PROFiLe Louise Rosenblatt 45
Historical Fiction 16 2-2 Readers 46
Biography and Memoir 16
Teaching idea 2.1 Recognizing Response
Teaching idea 1.1 Distinguish among When You See It 47
Fantasy, Contemporary Realism, and Historical
Teaching idea 2.2 Creating Links
Fiction 17
across Stories 50
Poetry and Verse 17
1-4d Formats 18
2-3 Texts 52
Picturebooks 18 2-3a Diversity 52
Graphic Novels 20 Teaching idea 2.3 Making Thematic
Audio, Video, and Electronic Books: Connections: Learning about Yourself 53
Beyond the Printed Page 21 2-3b Ideology 54

vii

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 2-4 Contexts 56 3-6f Page Turns 96
2-4a Classroom Contexts 56 3-6g The Challenge of the Gutter 97
Teaching idea 2.4 Book Buddies 57 a cLOse LOOk aT Little Melba and
Her Big Trombone 98
Teaching idea 2.5 Scaffolding Written
Response with Group Discussion 58 PROFiLe Frank Morrison 99
2-4b Censorship and Selection 58 3-7 Exploring Picturebook Art
Summary 60 with Young Readers 100

Booklist 60 Summary 100

deaR TeacheR Learning about the Art

3
of Picturebooks to Enable Exploration
with Students 101
Booklist 103
Picturebooks as Visual Art

4
Revised by Jennifer Graff
63
3-1 Defining Picturebooks 66 Picturebooks across Genres
3-2 A Brief History of Picturebooks 67
Revised by Jennifer Graff
3-3 Considering Quality in Picturebooks 68
107
3-4 Artistic Tools 69
4-1 Considering Quality in
3-4a Elements of Visual Art 69
Picturebooks across Genres 110
3-4b Line 70
3-4c Color 71
4-2 Narratives in Word and Image 110
4-2a Narrative Elements 111
3-4d Shape 72
Setting 111
3-4e Texture 74
Characterization 111
3-4f Design 75 Plot 112
3-4g Media and Technique 77 Theme 112
3-5 Styles of Art 79 Style 112
Teaching idea 3.1 Experiencing Media Teaching idea 4.1 Using Picturebooks
and Technique 80 to Help Students Learn about Literature 113
3-5a Representational Art 81 4-2b Simple Storybooks for Young
Children 114
Teaching idea 3.2 Teaching Style
to Children 82 4-2c Storybooks for Primary-Grade
Readers 116
3-5b Surrealistic Art 83
4-2d Wordless Storybooks 116
3-5c Impressionistic Art 83
3-5d Folk Art and Naïve Art 84 Teaching idea 4.2 Interactive Writing
with Wordless Picturebooks 118
3-5e Outline Style 85
4-2e Picture Storybooks for Older
3-5f Combining Styles 86 Readers 119
3-6 From Cover to Cover: Artistic and 4-2f Graphic Novels 122
Design Elements Specific to Picture Teaching idea 4.3 How to Read
Storybooks 86 Graphic Novels 123
3-6a Brevity 88
4-3 Picturebooks of Poetry and Song 124
3-6b Elements “Surrounding” the Story 89
3-6c The Relationship of Words 4-4 Nonfiction Picturebooks 125
and Pictures 90 4-4a Concept Books 126
3-6d Size and Shape of the Book a cLOse LOOk aT You Are (Not) Small 127
and the Illustrations 92 PROFiLe Anna Kang and Christopher
Teaching idea 3.3 Pictures and Words Weyant 129
in Picturebooks 93 4-4b Nonfiction Picturebooks
3-6e Illustration Sequence 95 for Younger Readers 129

viii ContEnts

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 4-4c Picturebook Biographies 131 5-4b Social Studies and History 167
A Close look At Viva Frida 132 teACHIng IDeA 5.3 Exploring
PRoFIle Yuyi Morales 134 Informational Text in Graphic Novels 168
4-4d Alphabet Books and Books about A Close look At The Port Chicago 50:
Numbers 134 Disaster, Mutiny, and the Fight for Civil Rights 169
4-5 Unique Formats 136 PRoFIle Steve Sheinkin 171
4-5a Board Books and Participation 5-4c Language, Literature, and the Arts 171
Books 136 5-5 Exploring Nonfiction with
4-5b Predictable or Patterned Books 137 Young Readers 173
A Close look At Oh, No! 138 5-5a Types of Nonfiction 173
4-5c Beginning-to-Read Books 140 5-5b Critical Reading and Thinking 174
4-5d Books with Varied Formats 140 teCH sUPPoRt Using Popplet
Postmodern Picturebooks 140 with Nonfiction 174
PRoFIle Candace Fleming 141 DeAR teACHeR The Call for More Nonfiction 175
PRoFIle Eric Rohmann 141 Summary 176
Picturebook Apps 142 Booklist 176
teCH sUPPoRt Multimedia Response

6
to Picturebooks 144
DeAR teACHeR Adding Easy Readers 145
4-6 Exploring Picturebooks
with Young Readers 146 Folklore
Summary 146 Revised by Maureen Boyd
Booklist 146 181
6-1 Defining Folklore 184

5 6-2 A Brief History of Folklore

for Young Readers 184
Nonfiction 6-3 Considering Quality in Folklore 187
151 A Close look At The Girl in Red 188

5-1 Defining Nonfiction 154 PRoFIle Roberto Innocenti 189

5-2 A Brief History of Nonfiction 6-4 Patterns in Folklore 189

for Young Readers 154 6-4a Conventions 190
teACHIng IDeA 5.1 The Dominance of teACHIng IDeA 6.1 Discovering Story
Nonfiction: Twenty-Four Hours 155 Structures 190
5-3 Considering Quality in Nonfiction 155 6-4b Motifs 191

5-3a Accuracy 156 6-4c Themes 191

5-3b Organization 157 6-5 Types of Folklore 191

5-3c Design 158 teACHIng IDeA 6.2 An Exploration
teACHIng IDeA 5.2 The Nonfiction of Theme in Folklore 192
Picturebook: Noting the Aesthetic 6-5a Nursery Rhymes 192
in Nonfiction 159 Characteristics 192
5-3d Style 159 Collections of Nursery Rhymes 193
A Close look At Locomotive 161 6-5b Folktales 194
Characteristics 194
PRoFIle Brian Floca 162
teACHIng IDeA 6.3 Create a Folklore
5-4 Common Subjects in Nonfiction 163 Performance 194
5-4a Science and Mathematics 163 Types of Folktales 195
A Close look At Look Up!: Bird-Watching 6-5c Fables 199
in Your Own Backyard 165 A Close look At The Elephant’s Friend
PRoFIle Annette LeBlanc Cate 166 and Other Tales from Ancient India 200

Contents ix

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 PROFiLe Marcia Williams 202 PROFiLe Anne Ursu 230
6-5d Myths and Pourquoi Stories 202 Teaching idea 7.3 Thematic Exploration:
Greek and Roman Mythology 203 Self-Knowledge 231
Mythology from Other Cultures 204 7-4c Literary Lore 233
Teaching idea 6.4 Using Graphic Novels 7-4d Animal Fantasy and Miniature
to Explore Mythology 204 Worlds 234
6-5e Hero Tales: Epics and Legends 205 7-5 Science Fiction 237
a cLOse LOOk aT Beowulf 206 a cLOse LOOk aT Incarceron 239
PROFiLe James Rumford 206 PROFiLe Catherine Fisher 240
6-5f Folk Songs 208 Tech sUPPORT Using Technology to Create
6-5g Fractured Fairy Tales and New Tales 242
Literary Folklore 208
7-6 Exploring Fantastic Literature with
Teaching idea 6.5 Identify Folkloric Young Readers 242
Style 209
Teaching idea 7.4 Science Changes
6-6 Exploring Folklore with Young the World 243
Readers 209
Summary 243
deaR TeacheR Using Folklore to Explore
Cultural Differences 210 deaR TeacheR Encouraging Young Readers
to Explore Fantastic Literature 244
Tech sUPPORT Re-Creations of Folklore 211
Booklist 245
Summary 211
Booklist 212
8
7 Contemporary
Realistic Fiction
Fantastic Literature:
247
Fantasy and Science Fiction 8-1 Defining Contemporary Realistic
217 Fiction 250
7-1 Defining Fantastic Literature 220 8-2 A Brief History of Contemporary
7-2 A Brief History of Fantastic Realistic Fiction 250
Literature 221 Teaching idea 8.1 Keep a Writer’s
Notebook 251
7-3 Considering Quality in Fantastic
Literature 222 8-3 Considering Quality in Contemporary
7-3a Setting 222 Realistic Fiction 252
Teaching idea 7.1 Teaching Genre: 8-3a Setting 253
Setting in Fantasy and Science Fiction 223 8-3b Characterization 253
7-3b Plot 224 8-3c Plot 253
7-3c Characters 224 8-3d Theme 253
7-3d Style 224 8-3e Style 253
7-3e Theme 224 a cLOse LOOk aT The Red Pencil 254
a cLOse LOOk aT Flora & Ulysses: PROFiLe Andrea Davis Pinkney 255
The Illuminated Adventures 224
8-4 Ways to Think about Contemporary
PROFiLe Kate DiCamillo 225 Realistic Fiction 255
7-4 Fantasy 226 Teaching idea 8.2 Thematic Connections:
Teaching idea 7.2 Exploring Graphic Discovering the Self 256
Novel Short Stories 226 8-4a Popular Formats 257
7-4a Quests and Fantasy Worlds 227 Transitional Chapter Books in Series 257
7-4b Magic and Magic Realism 228 a cLOse LOOk aT My Heart Is Laughing 258
a cLOse LOOk aT The Real Boy 229 PROFiLe Rose Lagercrantz 260

x ContEnts

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Novels in Verse 260 9-5a Global Prehistory through the Age
Graphic Novels 261 of Exploration 295
Teaching idea 8.3 Using a Graphic Novel Prehistoric and Ancient Times 295
for Young Readers to Explore the Format 262 The Middle Ages 295
Picturebooks and Novels 262 The Age of Exploration 296
8-4b Distinctive Types 263 9-5b America’s Early History 297
Adventure and Survival Stories 263 Colonial Times through
Animal Stories 263 the Revolutionary War 297
Mysteries and Thrillers 264 Westward Expansion and the Civil War 299
Sports Stories 265 a cLOse LOOk aT The Porcupine Year 300
8-4c Themes 266 PROFiLe Louise Erdrich 300
Growing Up, Coming of Age 266 The End of the Nineteenth Century 302
Teaching idea 8.4 Study an Author’s Teaching idea 9.3 Thematic Exploration:
Work and Life 267 Self-Knowledge 303
a cLOse LOOk aT Rain Reign 271 9-5c Global History: Early to
Mid-Twentieth Century 303
PROFiLe Ann M. Martin 272
World War I 304
Relationships 273
The Great Depression 305
Tech sUPPORT Learning about Authors 276
Teaching idea 9.4 Genre Study: Compare
8-5 Exploring Contemporary Realistic Treatment of a Theme across Genres 306
Fiction with Young Readers 276 World War II 306
deaR TeacheR Contemporary Realistic 9-5d Global History: Late Twentieth
Fiction: Reflecting Diversity 277 Century 309
Summary 278 The Cold War 309
Political and Social Turmoil 309
Booklist 278
a cLOse LOOk aT Paperboy 310

9
PROFiLe Vince Vawter 311
Tech sUPPORT Learnist and Historical
Fiction 312
Historical Fiction 9-6 Exploring Historical Fiction
283 with Young Readers 313
9-1 Defining Historical Fiction 286 deaR TeacheR Weaving Historical Fiction
into Thematic Units 313
9-2 A Brief History of Historical Fiction 287
Summary 314
9-3 Considering Quality in Historical
Fiction 287 Booklist 314
9-3a Setting 287
9-3b Characterization
9-3c Plot and Theme
288
288 10
9-3d Style 288
Biography and Memoir
Teaching idea 9.1 Writing Connection:
Descriptive Techniques 289 317
9-3e Illustrations 289 10-1 Defining Biography and Memoir 320
9-3f Historical Accuracy and Cultural 10-2 A Brief History of Biography and
Authenticity 290 Memoir for Young Readers 321
a cLOse LOOk aT Revolution 291
10-3 Considering Quality in Biography
PROFiLe Deborah Wiles 292 and Memoir 322
9-4 Historical Fiction in Varied Formats 292 10-3a Accuracy 322
Teaching idea 9.2 Using Graphic Novels 10-3b Setting and Plot 323
to Explore History, Literature, and Current 10-3c Portrayal of Subject 324
Events 294 Teaching idea 10.1 Compare Biographies
9-5 Historical Fiction as Chronology 295 about One Person 325

ContEnts xi

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 10-3d Style 325 a cLOse LOOk aT Dark Emperor
10-3e Theme 325 & Other Poems of the Night 354
10-3f Illustrations 325 PROFiLe Joyce Sidman 355
a cLOse LOOk aT A Splash of Red: 11-3a Content That Speaks to Readers 355
The Life and Art of Horace Pippin 327 11-3b Language That Enhances Meaning 357
PROFiLe Jen Bryant 328 Words as Sound 358
Words as Patterns 359
PROFiLe Melissa Sweet 328
Teaching idea 11.1 Choral Reading
10-4 Variety in Biographical Subjects 329 with English Speakers and English Language
10-4a Political and Military Leaders 329 Learners 360
a cLOse LOOk aT The Family Romanov: Words as Pictures 360
Murder, Rebellion and the Fall a cLOse LOOk aT Stardines Swim High
of Imperial across the Sky and Other Poems 362
Russia 330
PROFiLe Jack Prelutsky 362
PROFiLe Candace Fleming 331
11-3c Structure that Supports Meaning 363
10-4b Philosophers and Religious Leaders 331 Narrative Poetry 363
10-4c Scientists and Inventors 332
Teaching idea 11.2 Break It Up!
Teaching idea 10.2 Who Becomes Exploring Line Breaks in Free Verse Poetry 364
a Biographical Subject? 333
a cLOse LOOk aT Carver: A Life in Poems 366
10-4d Adventurers and Explorers 333
PROFiLe Marilyn Nelson 367
10-4e Practitioners of the Arts 333
Lyric Poetry 367
10-4f Sports Heroes 334 A Variety of Forms and Voices 367
10-4g Extraordinary Ordinary People 335
11-4 Exploring Poetry with
a cLOse LOOk aT El Deafo 335 Young Readers 370
PROFiLe Cece Bell 336 Teaching idea 11.3 Fifteen Minutes,
Teaching idea 10.3 El Deafo: Thinking Fifty Poems! 371
about Graphic Novel Biographies 337 Tech sUPPORT Using Apps to Scaffold
10-5 Exploring Biography and Students’ Reading of Poetry 372
Memoir with Young Readers 338 deaR TeacheR Helping Students Learn
10-5a Building a Biography Collection 338 to Love Poetry 372
10-5b Using Biography with Other Summary 373
Genres to Study an Era 338
Booklist 373
10-5c Organizing Biography by Theme 338
Tech sUPPORT Using Animoto with

12
Biography 339
Summary 339
deaR TeacheR The Biography Report 340
Booklist 341
Children’s Literature
in the Classroom
375

11 12-1 Literature as a Central Part

of the Classroom 378
Poetry and Verse 12-2 Reading Aloud 379

347 Teaching idea 12.1 Tips for Reading

Aloud 381
11-1 Defining Poetry 350
12-3 Discussion 382
11-2 A Brief History of Poetry 12-3a The Dialogic Stance 383
for Young Readers 351
12-4 Other Important Elements of
11-3 Considering Quality in Poetry Literature-Based Instruction 384
and Poetry Anthologies 353

xii ContEnts

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 12-4a Oral Language and Literature International Literacy Association
Connections 385 Awards 420
12-4b Literature Study and Writing 386 ILA Children’s and Young Adults’ Book Award 420
Teaching idea 12.2 How to Prepare International Awards 424
for Readers’ Theatre Performances 387
CILIP Carnegie Medal 424
12-4c Integrating and Transforming
Hans Christian Andersen Award 424
the Larger Curriculum 387
Mildred L. Batchelder Award 425
12-5 Assessment 389
Other Awards 429
Teaching idea 12.3 Response-Centered
Ezra Jack Keats Book Award 429
Project Ideas for Individual Books 390
Boston Globe–Horn Book Awards 430
12-6 A Final Word about Selecting
Books 390 How to Update Current Listings
12-6a Text Complexity 391
and Find Other Awards 438

12-6b Purpose 391

Summary
deaR TeacheR A Checklist for Selection 392
393
Appendix B
Resources

Appendix A Book Selection Aids

439
439
Selected Children’s and Adolescent General Reference Books about Authors
Book Awards and Illustrators 440

395 Periodicals about Children’s Literature 441

American Library Association Awards 395 Blogs Supported by Major Children’s

John Newbery Medal and Honor Books 395
Literature Periodicals 442

Randolph Caldecott Medal and Honor Books 402

Coretta Scott King Award and Honor Books 408
Pura Belpré Award 413 Professional References 445
Robert F. Sibert Award 416
Children’s Literature References 453
Laura Ingalls Wilder Medal 416
Author and Title Index 491
Margaret A. Edwards Award 416
Michael L. Printz Award 416 Subject Index 510
Theodore Seuss Geisel Award 418
Schneider Family Book Award 419
National Council of Teachers
of English Awards 420
The Award for Excellence in Poetry
for Children 420
Orbis Pictus Award and Honor Books 420

ContEnts xiii

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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Guide to
Selected Features

a cLOse LOOk aT PROFiLe

Little Melba and Her Big Trombone 98 Louise Rosenblatt 45
You Are (Not) Small 127 Frank Morrison 99
Viva Frida 132 Anna Kang and Christopher Weyant 129
Oh, No! 138 Yuyi Morales 134
Locomotive 161 Candace Fleming 141
Look Up!: Bird-Watching in Your Own Eric Rohmann 141
Backyard 165
Brian Floca 162
The Port Chicago 50: Disaster, Mutiny,
Annette LeBlanc Cate 166
and the Fight for Civil Rights 170
Steve Sheinkin 171
The Girl in Red 188
Roberto Innocenti 189
The Elephant’s Friend and Other Tales from
Ancient India 200 Marcia Williams 202
Beowulf 206 James Rumford 206
Flora & Ulysses: The Illuminated Adventures 224 Kate DiCamillo 225
The Real Boy 229 Anne Ursu 230
Incarceron 239 Catherine Fisher 240
The Red Pencil 254 Andrea Davis Pinkney 255
My Heart Is Laughing 258 Rose Lagercrantz 260
Rain Reign 271 Ann M. Martin 272
Revolution 291 Deborah Wiles 292
The Porcupine Year 300 Louise Erdrich 301
Paperboy 310 Vince Vawter 311
A Splash of Red: The Life and Art of Horace Jen Bryant 328
Pippin 327 Melissa Sweet 328
The Family Romanov: Murder, Rebellion and Candace Fleming 331
the Fall of Imperial Russia 330
Cece Bell 336
El Deafo 335
Joyce Sidman 355
Dark Emperor & Other Poems of the Night 354
Jack Prelutsky 362
Stardines Swim High across the Sky and Other
Poems 362 Marilyn Nelson 367
Carver: A Life in Poems 366

xv

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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Teaching idea
1.1 Distinguish among Fantasy, Contemporary 7.1 Teaching Genre: Setting in Fantasy
Realism, and Historical Fiction 17 and Science Fiction 223
2.1 Recognizing Response when You See It 47 7.2 Exploring Graphic Novel Short Stories 226
2.2 Creating Links across Stories 50 7.3 Thematic Exploration: Self-Knowledge 231
2.3 Making Thematic Connections: 7.4 Science Changes the World 242
Learning about Yourself 53
8.1 Keep a Writer’s Notebook 251
2.4 Book Buddies 57
8.2 Thematic Connections: Discovering the Self 256
2.5 Scaffolding Written Response
8.3 Using a Graphic Novel for Young Readers
with Group Discussion 58
to Explore the Format 262
3.1 Experiencing Media and Technique 80
8.4 Study an Author’s Work and Life 267
3.2 Teaching Style to Children 82
9.1 Writing Connection: Descriptive Techniques 289
3.3 Pictures and Words in Picturebooks 93
9.2 Using Graphic Novels to Explore
4.1 Using Picturebooks to Help Students History, Literature, and Current Events 294
Learn about Literature 113
9.3 Thematic Exploration: Self-Knowledge 303
4.2 Interactive Writing with Wordless
9.4 Genre Study: Compare Treatment
Picturebooks 117
of a Theme across Genres 306
4.3 How to Read Graphic Novels 123
10.1 Compare Biographies about One Person 325
5.1 The Dominance of Nonfiction: Twenty-Four
10.2 Who Becomes a Biographical Subject? 333
Hours 155
10.3 El Deafo: Thinking about Graphic
5.2 The Nonfiction Picturebook: Noting the
Novel Biographies 337
Aesthetic in Nonfiction 159
11.1 Choral Reading with English Speakers
5.3 Exploring Informational Text in Graphic
and English Language Learners 360
Novels 168
11.2 Break It Up! Exploring Line Breaks
6.1 Discovering Story Structures 190
in Free Verse Poetry 364
6.2 An Exploration of Theme in Folklore 192
11.3 Fifteen Minutes, Fifty Poems! 371
6.3 Create a Folklore Performance 194
12.1 Tips for Reading Aloud 380
6.4 Using Graphic Novels to Explore
12.2 How to Prepare for Readers’ Theatre
Mythology 204
Performances 387
6.5 Identify Folkloric Style 209
12.3 Response-Centered Project Ideas
for Individual Books 390

Tech sUPPORT deaR TeacheR

Multimedia Response to Picturebooks 144 Learning about the Art of Picturebooks
to Enable Exploration with Students 101
Using Popplet with Nonfiction 174
Adding Easy Readers 145
Re-Creations of Folklore 211
The Call for More Nonfiction 175
Using Technology to Create New Tales 242
Using Folklore to Explore Cultural Differences 210
Learning about Authors 276
Encouraging Young Readers to Explore
Learnist and Historical Fiction 312
Fantastic Literature 243
Using Animoto with Biography 339
Contemporary Realistic Fiction: Reflecting
Using Apps to Scaffold Students’ Reading Diversity 277
of Poetry 372
Weaving Historical Fiction into Thematic Units 313
The Biography Report 340
Helping Students Learn to Love Poetry 372
A Checklist for Selection 392

xvi GuidE to sElECtEd fEaturEs

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 Preface

After fifteen years of the twenty-first century, books useful to students. Standards have shaped our edu-
are still a central part of our lives and the lives of our cational system, and Teaching Ideas in Literature and
children. Even those who create the many wonder- the Child, Ninth Edition, are linked to the Common
ful technological advances that have marked the past Core English Language Arts Standards for kindergar-
decades freely admit that a great book is a necessary ten through grade eight. We have also created several
precursor to other successful formats. Good books in Teaching Ideas that are specifically useful when work-
varied formats offer all of us the opportunity to en- ing with English language learners and struggling
gage with another’s vision of the world, from fictional readers, and have included some that explore graphic
narratives to poetry to nonfiction. Books challenge us novels in appropriate chapters. Further, Chapters 3
to invest ourselves in meaning-making. Authors and through 11 all include a suggestion for using tech-
illustrators know that reading is not a passive act but nology, called Tech Support, as well as a new Dear
one that requires work on the part of the reader. Read- Teacher feature in Chapters 3 through 12 in which
ers know this as well; they understand that when they we address questions we’ve been asked about how to
open a book they use an author’s words or an artist’s work with the genre focused on in the chapter. We
illustrations to create their own meaning. Books also have consolidated and reorganized the final teach-
allow us time to contemplate, to stop and think. In ing chapter to end the book with solid principles and
these days of information overload and constant de- strategies for using children’s literature in the K–8
mands for quick response, the opportunity to linger in classroom. We have again emphasized the distinction
the spell of a good book is invaluable. And so we read- between genre and format, and have tried to include
ers, teachers, librarians, parents, grandparents, and both representative picturebooks and graphic novels
friends seek to pass this opportunity on to the children in Chapters 5 through 11. There are also many new
and adolescents with whom we share our lives. This “A Close Look at” features throughout the text.
desire to “pass it on” fuels the writing of this textbook. Again in this edition, diverse literature was wo-
ven into every chapter, but is also highlighted in
Chapter 1 with a very explicit introduction to the
About the names and books of the many wonderful authors
and illustrators who create books from parallel cul-
Ninth Edition tures. Thus, in Chapter 1, we open with an argument
for why literature is important in the lives of children
Every edition of this text has been shaped by the field, before we present a brief history of that literature. In
reflected not only in the books that are included in our discussion of children’s literature in the twenty-
each, but also the manner in which we discuss them. first century, we move toward an emphasis on the
This remains true for the ninth edition. For exam- rise of culturally diverse and global literature, with
ple, we have reorganized the order of the chapters, the names of authors and illustrators who contribute
placing nonfiction earlier as an acknowledgment of to this diversity included in the Booklist at the end
the current focus on adding nonfiction to the curric- of that chapter. We also have kept a brief discussion
ulum. We have also expanded our discussion of pic- of the Common Core Standards and the vital role of
turebooks, focusing on the illustrations in Chapter 3 literature in teaching to the Standards. Chapter 2 has
and the various types of picturebooks in Chapter 4. been updated with new research on reader response,
The entire book has been updated, and many of the especially that which involves cultural concerns, and
Booklists have been reorganized to make them more also contains a brief discussion of censorship, moved

xvii

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 from Chapter 1 and linked to our discussion of ideol- ● Profile boxes, focusing on a specific author
ogy in literature and the responses of readers. or illustrator, provide additional information
With the explosion of picturebooks and graphic about some of the people who have helped to
novels, Chapter 3 has also exploded into two chap- make children’s literature the vast and rich field
ters, both of which were updated by Dr. Jennifer Graff, it has become.
University of Georgia. In Chapter 3, we focus on the ● “A Close Look at” sections delve into specific
visual art of picturebooks and how to understand the works discussed within the text.
exquisite craft of illustration. Chapter 4 then focus-
● Many boxed figures contain exceptional re-
es on picturebooks in various genres and formats,
sources relating to children’s literature.
and we have added a brief section on graphic nov-
els. We also include graphic novels and picturebooks ● The front endpages include the criteria of
in as many other genre chapters as was appropriate. excellence figures from throughout the book,
Chapter 5, now Nonfiction, follows directly after the assembled in one conveniently located place. The
discussion of picturebooks to highlight the marked back endpages present the Children’s Literature
increase in nonfiction picturebooks and remind read- Assembly’s document “The Value of Children’s
ers of the art of nonfiction. Chapter 6, updated by Literature Courses within Teacher Education.”
Dr. Maureen Boyd, University at Buffalo, State Univer- ● Booklists are presented throughout, represent-
sity of New York, and chapters 7, 8, and 9 have been ing the best offerings related to each chapter.
updated with new titles; chapters 8 and 9 have also
been restructured to better present the particulars
of the genres. Chapter 10 highlights many new titles
in biography, as well as explores the rising populari-
Supplement Package
ty of this genre with children and in the awards are-
na. Chapter 11 is now the poetry chapter, which has
Online Instructor’s Manual
been updated and restructured to provide more infor- with Test Bank
mation in fewer pages. Chapter 12 now replaces last An online instructor’s manual accompanies this
edition’s two teaching chapters by addressing best prac- book. It contains information to assist the instruc-
tices, including Dr. Boyd’s suggestions for discussions, tor in designing the course, including sample syl-
as well as other aspects of effective uses of literature. labi, discussion questions, teaching and learning
activities, field experiences, learning objectives,
and additional online resources. For assessment
Special Features support, the updated test bank includes true/false,
multiple-choice, matching, short-answer, and essay
and Pedagogy questions for each chapter.

This ninth edition includes a wide range of features PowerPoint Lecture Slides
and aids to help make the study of children’s litera-
These vibrant Microsoft PowerPoint lecture slides
ture more informative, engaging, and relevant.
for each chapter assist you with your lecture by pro-
● Beautiful, full-color illustrations from out- viding concept coverage using images, figures, and
standing children’s literature are featured in a tables directly from the textbook.
large format.
● Every one of the many, practical Teaching Ideas Cognero
is linked to the Common Core English Lan- Cengage Learning Testing Powered by Cognero is
guage Arts Standards for kindergarten through a flexible online system that allows you to author,
grade eight. Teaching Ideas are geared specifi- edit, and manage test bank content from multiple
cally toward working with English language Cengage Learning solutions; create multiple test
learners and struggling readers when appro- versions in an instant; and deliver tests from your
priate. Others focus on using graphic novels. LMS, your classroom, or wherever you want.
● Chapters 3 through 11 each have a new Tech
Support feature that includes an idea for in-

●
cluding technology with literature.
Chapters 3 through 12 each include a new Dear
Acknowledgments
Teacher feature in which the authors of this Our profuse thanks to both Jenn Graff and Maureen
text directly address questions that many teach- Boyd for their willingness to help us with this edition. It
ers ask them. has been a pleasure to work with them as we continue

xviii prEfaCE

Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 to improve the text and keep it current, reflecting the Rebecca Compton, East Central University
field as it evolves. Aimee Rogers, assistant professor at Darryn Diuguid, McKendree University
the University of North Dakota, managed to convert Susan Dunkle, Medaille College
Lee to a great appreciation of graphic novels while Susan Fullerton, Clemson University
she was a doctoral student at the University of Min- Carol Greene, Ashland Community and Technical College
nesota, and her Teaching Ideas using graphic novels Ioney James, North Carolina A&T State University
enrich this edition. She also suggested changes in our Gwen Marra, Dordt College
discussion of graphic novels and helped us shape what Zelda McMurty, Arkansas State University
we say about them. Lori Laster, doctoral student at the Margaret Mize, Chaminade University
University of Minnesota, knows a great deal about fan- Andrea Neptune, Sierra College
tastic literature; her influence is apparent in Chapter 7. Emilie Paille, Mercer University
Rachel Skrlac Lo, doctoral student at the University of Eden Pearson, Des Moines Area Community College
Pennsylvania, contributed titles and ideas for our discu- Elizabeth Pierce, Monroe Community College
ssion of international and diverse books in Chapter 1. Wendy Richards, University of Northwestern–St. Paul
Rachel was one of Larry Sipe’s students when he died, Sherron Killingsworth Roberts, University of Central Florida
and we were glad to include a small piece of Larry’s Elizabeth Ruleman, Tennessee Wesleyan College
legacy by working with her. Raven Cromwell, doctor- F. Sawyer, North Carolina A&T State University
al student at the University of Utah, was an excellent Sally Smith, Hofstra University
help with updating the appendices and assisting with Mary Starzynski, University of Central Florida
the categorization in Chapter 10’s booklist. Megan Stephanie Talley, Abilene Christian University
McDonald van Deventer, doctoral student at University Karren Timmermans, Pacific University
of Minnesota, dealt with references throughout the Doris Walker-Dalhouse, Marquette University
book. Collette Morgan, manager of The Wild Rumpus Nancy White, University of Northern Iowa
bookstore in Minneapolis, gave Lee advance reader Stephanie White, Cameron University
copies and spent several hours “talking books” Elizabeth Willner, Oklahoma City University
with her; the employees at The Wild Rumpus were We would also like to acknowledge the continu-
always cheerful and helpful when Lee arrived with ing influence of Dr. Lawrence Sipe on the picturebook
long lists of books to purchase. Dear friend and chapters. His writing in the seventh edition, when the
colleague Rebecca Rapport is also present in this text, picturebook chapter was significantly revised, is still
as she and Lee “talk books” on a regular basis. present in the ninth. Lauren Stringer, whose beau-
We also continue to be inspired by the wonder- tiful illustrations graced the fifth and sixth editions,
ful teachers with whom we have had the privilege graciously allowed us to use one of the interior illus-
to work. Cari Ashford, Karen Bliss, Rene Goepfrich, trations from those editions as the cover of this ninth
Terry Nestor, Lisa Stanzi, and Betty Shockley demon- edition. This particular work hangs on Lee’s living
strate what can be accomplished by a gifted teacher. room wall, a constant reminder of their friendship.
It has been a great pleasure to work with Julia Lee is also delighted to have Lauren join her as a
White as associate content developer. Always sup- permanent author for this text. It is time to pass the
portive, her prompt responses, excellent editing, and torch on, as Bee passed it to Lee with the third edition.
friendly demeanor made writing easier than it might We are fortunate to have the love and support
have been. A special thank you to Joan Keyes, of of our families. Lauren is grateful for the endless
Dovetail Publishing Services, for shepherding this, love and support of her husband, Bernie, and her
the fifth edition that we have worked on together. children, Zev, Zoë, and Lexie. She appreciated their
Similarly, Susan Gall, copy editor, is part of the team feedback as they pilfered books from Lauren’s stacks
for yet another edition. Without Julia, Joan, and Su- and stashed them away for (not-so-secret!) after bed-
san, the quality of this book would be diminished— time reading by flashlight. She is as well very grate-
and it wouldn’t have been as much fun to write! And ful to her mother for coming to lend a hand when
of course, thank you to Mark Kerr, senior product familial and work obligations threatened deadlines
manager. It has been great fun getting to know you for this book. Lee’s family has grown since the last
as well as work with you, cherry-cranberry relish edition. Her grandson, Bennett, is now discovering
and all! We also acknowledge the many good ideas the joys of books and shares his grandmother’s de-
that our reviewers provided to us. It is always grat- light in word and image. He, his parents Anna and
ifying to have a reviewer like the text, and it’s really Jason, his uncle Adam, and his Grandpa Tony are
wonderful to have them not only like the text but the beginning, the delicious middle, and the end of
give us good ideas. Thank you to: all that really matters.
Holly Bell, Tulane University
Lee Galda and Lauren Aimonette Liang
Melissa Cain, The University of Findlay

prEfaCE xix

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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Another random document with
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short as to seem to be absent, and the anther is then said to be
sessile. The anther bears the pollen spores. It is made up of two or
four parts (known as sporangia or spore-cases), which burst and
discharge the pollen. When the pollen is shed, the stamen dies.
The pistil has three parts: the
lowest, or seed-bearing part,
which is the ovary; the stigma
at the upper extremity, which is a
flattened or expanded surface,
and usually roughened or sticky;
the stalk-like part or style,
connecting the ovary and the
stigma. Sometimes the style is
apparently wanting, and the
stigma is said to be sessile on the Fig. 175.—The Structure of a Plum
Blossom.
ovary. These parts are shown inse, sepals; p, petals; sta, stamens; o, ovary; s, style;
the fuchsia (Fig. 174). The ovary stand
, stigma. The pistil consists of the ovary, the style
the stigma. It contains the seed part. The
or seed vessel is at a. A long stamens are tipped with anthers, in which the pollen
style, bearing a large stigma, is borne. The ovary, o, ripens into the fruit.
projects from the flower. See also
Figs. 175 and 176.
Stamens and pistils probably are homologous with leaves. A pistil
is sometimes conceived to represent anciently a leaf as if rolled into
a tube; and an anther, a leaf of which the edges may have been
turned in on the midrib.
The pistil may be of one part or compartment, or
of many parts. The different units or parts of which
it is composed are carpels. Each carpel is
homologous with a leaf. Each carpel bears one or
more seeds. A pistil of one carpel is simple; of two
Fig. 176.—Simple or more carpels, compound. Usually the structure
Pistils of of the pistil may be determined by cutting
Buttercup, one in horizontally across the lower or seed-bearing part,
longitudinal as Figs. 177, 178 explain. A flower may contain a
section.
simple pistil (one carpel), as the pea (Fig.
177); several simple pistils (several separate
carpels), as the buttercup (Fig. 176); or a
compound pistil with carpels united, as the
Saint John’s wort (Fig. 178) and apple. How
many carpels in an apple? A peach? An okra
pod? A bean pod? The seed cavity in each
carpel is called a locule (Latin locus, aFig. 177.—Pistil of Garden
place). In these locules the seeds are borne. Ppulled
ea, the stamens being
down in order to
Conformation of disclose it; also a section
the Flower.—A flower showing the single
compartment (compare
that has calyx, corolla, Fig. 188).
stamens, and pistils is
said to be complete
(Fig. 173); all others are incomplete. In some
flowers both the floral envelopes are wanting:
such are naked. When one of the floral
envelope series is wanting, the remaining series
Fig. 178.—Compound
is said to be calyx, and the flower is therefore
Pistil of a St. John’s apetalous (without petals). The knot-weed
Wort. It has 5 (Fig. 179), smartweed, buckwheat, elm are
carpels. examples.
Some flowers lack the pistils: these are
staminate, whether the envelopes are missing or not. Others lack
the stamens: these are pistillate. Others have neither stamens nor
pistils: these are sterile (snowball and hydrangea). Those that have
both stamens and pistils are perfect, whether or not the envelopes
are missing. Those that lack either stamens or pistils are imperfect
or diclinous. Staminate and pistillate flowers are imperfect or
diclinous.
When staminate and pistillate flowers are borne on the same
plant, e.g. oak (Fig. 180), corn, beech, chestnut, hazel, walnut,
hickory, pine, begonia (Fig. 181), watermelon, gourd, pumpkin, the
plant is monœcious (“in one house”). When they are on different
 plants, e.g. poplar,
cottonwood, bois d’arc,
willow (Fig. 182), the
plant is diœcious (“in
two houses”). Some
varieties of strawberry,
grape, and mulberry
are partly diœcious. Is
the rose either
monœcious or
diœcious?
Flowers in which the
parts of each series are Fig. 181.—Begonia
Flowers.
alike are said to beStaminate at A: pistillate
Fig. 179.—Knotweed, a very regular (as in Figs. below, with the winged
ovary at B.
common but inconspicuous 173, 174, 175). Those
plant along hard walks and in which some parts are
roads. Two flowers, enlarged, unlike other parts of the same series are
are shown at the right. These
flowers are very small and irregular. Their regularity may be in
borne in the axils of the calyx, as in nasturtium (Fig. 183); in
leaves. corolla (Figs. 184, 185); in the stamens
(compare nasturtium, catnip, Fig. 185,
sage); in the pistils. Irregularity is most
frequent in the corolla.

Fig. 180.—Staminate Catkins of

Oak. The pistillate flowers are
in the leaf axils, and not
shown in this picture.
 Fig. 182.—Catkins of a Willow.
A staminate flower is shown at s, and a pistillate flower
at p. The staminate and pistillate are on different
plants.

Fig. 183.—Flower of
Garden Nasturtium. Fig. 184.—The Five Petals of Fig. 185.—
Separate petal at a. The the Pansy, detached to show Flower of
calyx is produced into a the form. Catnip.
spur.
 Various Forms of Corolla.—The corolla often assumes very
definite or distinct forms, especially when gamopetalous. It may
have a long tube with a wide-flaring limb, when it is said to be
funnelform, as in morning-glory and pumpkin. If the tube is very
narrow and the limb stands at right angles to it, the corolla is
salverform, as in phlox. If the tube is very short and the limb wide-
spreading and nearly circular in outline, the corolla is rotate or
wheel-shaped, as in potato.
A gamopetalous corolla or gamosepalous calyx is often cleft in
such way as to make two prominent parts. Such parts are said to be
lipped or labiate. Each of the lips or lobes may be notched or
toothed. In 5-membered flowers, the lower lip is usually 3-lobed and
the upper one 2-lobed. Labiate flowers are characteristic of the mint
family (Fig. 185), and the family therefore is called the Labiatæ.
(Literally, labiate means merely “lipped,” without specifying the
number of lips or lobes; but it is commonly used to designate 2-
lipped flowers.) Strongly 2-parted polypetalous flowers may be said
to be labiate; but the term is oftenest used for gamopetalous
corollas.
Labiate gamopetalous flowers that are
closed in the throat (or entrance to the
tube) are said to be grinning or
personate (personate means masked).
Snapdragon is a typical example; also
toadflax or butter-and-eggs (Fig. 186),
and many related plants. Personate
flowers usually have definite relations to Fig. 186.—Personate Flower of
insect pollination. Observe how an insect Toadflax.
forces his head into the closed throat of
the toadflax.
The peculiar flowers of the pea tribes are explained in Figs. 187,
188.
Spathe Flowers.—In many plants, very simple (often naked)
flowers are borne in dense, more or less fleshy spikes, and the spike
 is inclosed in or attended by a leaf,
sometimes corolla-like, known as a
spathe. The spike of flowers is
technically known as a spadix. This
type of flower is characteristic of the
great arum family, which is chiefly
tropical. The commonest wild
representatives are Jack-in-the-pulpit,
or Indian turnip, and skunk cabbage.
In the former the flowers are all
diclinous and naked. In the skunk
cabbage all the flowers are perfect
and have four sepals. The common
calla is a good example of this type of
inflorescence.

Fig. 187.—Flowers of the Common

Bean, with one flower opened (a)
to show the structure.

Composite Flowers.—The
head (anthodium) or so-called
“flower” of sunflower (Fig. 189),
thistle, aster, dandelion, daisy,
chrysanthemum, goldenrod, is
composed of several or many little
flowers, or florets. These florets Fig. 188.—Diagram of Alfalfa Flower in
are inclosed in a more or less Section:
C, calyx; D, standard; W, wing; K, keel; T, stamen
dense and usually green tube; F, filament of tenth stamen; X, stigma; Y,
involucre. In the thistle (Fig. 190) style; O, ovary; the dotted lines at E show position
of stamen tube, when pushed upward by insects.
this involucre is prickly. A Enlarged.
longitudinal section discloses the
florets, all attached at bottom to a common torus, and densely
packed in the involucre. The pink tips of these florets constitute the
showy part of the head.
 Each floret of the thistle
(Fig. 190) is a complete
flower. At a is the ovary. At
b is a much-divided plumy
calyx, known as the
pappus. The corolla is
long-tubed, rising above
the pappus, and is
enlarged and 5-lobed at
the top, c. The style
projects at e. The five
anthers are united about
the style in a ring at d.
Such anthers are said to be Fig. 189.—Head of Sunflower.

syngenesious. These are the

various parts of the florets of the
Compositæ. In some cases the
pappus is in the form of barbs,
bristles, or scales, and sometimes
it is wanting. The pappus, as we
shall see later, assists in
distributing the seed. Often the
florets are not all alike. The
corolla of those in the outer circles
may be developed into a long,
straplike, or tubular part, and the
head then has the appearance of
being one flower with a border of
petals. Of such is the sunflower
(Fig. 189), aster, bachelor’s button
or cornflower, and field daisy (Fig.
Fig. 190.—Longitudinal Section of Thistle 211). These long corolla-limbs are
Head; also a Floret of Thistle. called rays. In some cultivated
composites, all the florets may
develop rays, as in the dahlia and the chrysanthemum. In some
species, as dandelion, all the florets naturally have rays.
Syngenesious arrangement of anthers is the most characteristic
single feature of the composites.
Double Flowers.—
Under the stimulus of
cultivation and increased
food supply, flowers tend
to become double. True
doubling arises in two
ways, morphologically: (1)
stamens or pistils may
produce petals (Fig. 191);
(2) adventitious or
accessory petals may arise
in the circle of petals. Both
these categories may be
Fig. 191.—Petals arising from the Staminal Column present in the same flower.
of Hollyhock, and accessory petals in the In the full double hollyhock
corolla-whorl.
the petals derived from the
staminal column are
shorter and make a rosette in the centre of the flower. In Fig. 192 is
shown the doubling of a daffodil by the modification of stamens.
Other modifications of flowers are sometimes known as doubling.
For example, double dahlias, chrysanthemums, and sunflowers are
forms in which the disk flowers have developed rays. The snowball is
another case. In the wild snowball the external flowers of the cluster
are large and sterile. In the cultivated plant all the flowers have
become large and sterile. Hydrangea is a similar case.
 Fig. 192.—Narcissus or Daffodil. Single flower at the right.
Suggestions.—145. If the pupil has been skilfully conducted through this chapter
by means of careful study of specimens rather than as a mere memorizing
process, he will be in mood to challenge any flower that he sees and to make an
effort to understand it. Flowers are endlessly modified in form; but they can be
understood if the pupil looks first for the anthers and ovaries. How may anthers
and ovaries always be distinguished? 146. It is excellent practice to find the
flowers in plants that are commonly known by name, and to determine the main
points in their structure. What are the flowers in Indian corn? pumpkin or squash?
celery? cabbage? potato? pea? tomato? okra? cotton? rhubarb? chestnut? wheat?
oats? 147. Do all forest trees have flowers? Explain. 148. Name all the
monœcious plants you know. Diœcious. 149. What plants do you know that
bloom before the leaves appear? Do any bloom after the leaves fall? 150. Explain
the flowers of marigold, hyacinth, lettuce, clover, asparagus, garden calla, aster,
locust, onion, burdock, lily-of-the-valley, crocus, Golden Glow, rudbeckia, cowpea.
151. Define a flower.

Note to the Teacher.—It cannot be urged too often that the specimens
themselves be studied. If this chapter becomes a mere recitation on names and
definitions, the exercise will be worse than useless. Properly taught by means of
the flowers themselves, the names become merely incidental and a part of the
pupil’s language, and the subject has living interest.
 CHAPTER XIX
THE FLOWER—FERTILIZATION AND POLLINATION

Fertilization.—Seeds result from the

union of two elements or parts. One of
these elements is a cell-nucleus of the
pollen-grain. The other element is the
cell-nucleus of an egg-cell, borne in the
ovary. The pollen-grain falls on the
stigma (Fig. 193). It absorbs the juices
exuded by the stigma, and grows by
sending out a tube (Fig. 194). This tube
grows downward through the style,
absorbing food as it goes, and finally
reaches the egg-cell in the interior of an
Fig. 193.—B, Pollen escaping ovule in the ovary (Fig. 195), and
from anther; A, pollen fertilization, or union of a nucleus of
germinating on a stigma.
Enlarged. the pollen and the nucleus of the egg-
cell in the ovule, takes place. The ovule
and embryo within then develops into a
seed. The growth of the pollen-tube is often spoken of as
germination of the pollen, but it is not germination in the sense in
which the word is used when speaking of seeds.
Better seeds—that is, those that produce stronger and more
fruitful plants—often result when the pollen comes from another
flower. Fertilization effected between different flowers is cross-
fertilization; that resulting from the application of pollen to pistils in
the same flower is close-fertilization or self-fertilization. It will
be seen that the cross-fertilization relationship may be of many
degrees—between two flowers in the same cluster, between those in
different clusters on the same branch, between those on different
plants. Usually fertilization takes place only between
plants of the same species or kind.
In many cases there is, in effect, an apparent
selection of pollen when pollen from two or more
sources is applied to the stigma. Sometimes the
foreign pollen, if from the same kind of plant, grows,
and fertilization results, while pollen from the same
flower is less promptly effective. If, however, no
foreign pollen is present, the pollen from the same
flower may finally serve the same purpose.
In order that the pollen may grow, the stigma must
be ripe. At this stage the stigma is usually moist and
sometimes sticky. A ripe stigma is said to be
receptive. The stigma may remain receptive for
Fig. 194.—A
several hours or even days, depending on the kind of Pollen-grain and
plant, the weather, and how soon pollen is received. the Growing
Watch a certain flower every day to see the anther Tube.
locules open and the stigma ripen. When fertilization
takes place, the stigma dies. Observe, also, how soon the petals
wither after the stigma has received pollen.
Pollination.—The transfer of the pollen from anther to stigma is
known as pollination. The pollen may fall of its own weight on the
adjacent stigma, or it may be carried from flower to flower by wind,
insects, or other agents. There may be self-pollination or cross-
pollination, and of course it must always precede fertilization.
Usually the pollen is discharged by the bursting of the anthers.
The commonest method of discharge is through a slit on either side
of the anther (Fig. 193). Sometimes it discharges through a pore at
the apex, as in azalea (Fig. 196), rhododendron, huckleberry,
wintergreen. In some plants a part of the anther wall raises or falls
as a lid, as in barberry (Fig. 197), blue cohosh, May apple. The
opening of an anther (as also of a seed-pod) is known as
dehiscence (de, from; hisco, to gape). When an anther or seed-
pod opens, it is said to dehisce.
 Most flowers are so constructed
as to increase the chances of
cross-pollination. We have seen
that the stigma may have the
power of choosing foreign pollen.
The commonest means of
necessitating cross-pollination is
Fig. the different times of maturing of
196.— stamens and pistils in the same
Anther flower. In most cases the stamens
of
mature first: the flower is then
Azalea,
opening proterandrous. When the pistils
by mature first, the flower is
terminal proterogynous. (Aner, andr, is a
pores. Greek root often used, in
combinations, for stamen, and
gyne for pistil.) The difference in time ofFig. 195.—Diagram to represent
ripening may be an hour or two, or it Fertilization.
s, stigma; st, style; ov, ovary; o, ovule; p,
may be a day. The ripening of the pollen-grain; pt, pollen-tube; e, egg-cell;
stamens and the pistils at different times m, micropyle.
is known as dichogamy, and flowers of
such character are said to be dichogamous. There is little chance for
dichogamous flowers to pollinate themselves. Many flowers are
imperfectly dichogamous—some of the anthers mature
simultaneously with the pistils, so that there is chance for self-
pollination in case foreign pollen does not arrive. Even when the
stigma receives pollen from its own flower, cross-fertilization may
result. The hollyhock is proterandrous. Fig. 198 shows a flower
recently expanded. The centre is occupied by the column of
stamens. In Fig. 199, showing an older flower, the long styles are
conspicuous.
Some flowers are so constructed as to prohibit self-pollination.
Very irregular flowers are usually of this kind. With some of them,
the petals form a sac to inclose the anthers and the pollen cannot be
shed on the stigma but is retained until a bee forces the sac open;
the pollen is rubbed on the hairs of the bee and
transported. Regular flowers usually depend mostly on
dichogamy and the selective power of the pistil to insure
crossing. Flowers that are very irregular and provided with
nectar and strong perfume are usually pollinated by
insects. Gaudy colours probably attract insects in many
cases, but perfume appears to be a greater attraction.
The insect visits the flower for the nectar (for the
making of honey) and may unknowingly carry the pollen.
Spurs and sacs in the flower are nectaries (Fig. 200), but
in spurless flowers the nectar is usually secreted in the
bottom of the flower cup. This compels the insect to pass Fig. 197.—
by the anther and rub against the pollen before it reaches Barberry
the nectar. Sometimes the anther is a long lever poised on Stamen, with
anther
the middle point and the insect bumps against one end opening by
and lifts it, thus bringing the other end of the lever with lids.
the pollen sacs
down on its back.
Flowers that are
pollinated by insects
are said to be
entomophilous
(“insect loving”).
Fig. 200 shows a
larkspur. The
envelopes are
separated in Fig.
201. The long spur
at once suggests
insect pollination.
The spur is a sepal.
Two hollow petals
project into this Fig. 198.—Flower of Hollyhock; proterandrous.
spur, apparently
serving to guide the bee’s tongue. The two smaller petals, in front,
 are peculiarly coloured and
perhaps serve the bee in
locating the nectary. The
stamens ensheath the
pistils (Fig. 202). As the
insect stands on the flower
and thrusts its head into
the centre, the envelopes
are pushed downward and
outward and the pistil and
stamens come in contact
with its abdomen. Since
the flower is
proterandrous, the pollen
Fig. 199.—Older Flower of Hollyhock.
that the pistils receive from
the bee’s abdomen
must come from
another flower. Note
a somewhat similar
arrangement in the
toadflax or butter-
and-eggs.
In some cases
(Fig. 203) the
stamens are longer
than the pistil in one
Fig. 200.—Flower of flower and shorter
Larkspur. in another. If the
insect visits such
Fig. 201.—Envelopes of a
flowers, it gets pollen on its head from Larkspur. There are five wide
the long-stamen flower, and deposits this sepals, the upper one being
pollen on the stigma in the long-pistil spurred. There are four small
flower. Such flowers are dimorphous petals.
(of two forms). If pollen from its own
flower and from another flower both fall on the
stigma, the probabilities are that the stigma will
choose the foreign pollen.

Fig. 202.—Stamens of
Larkspur, surrounding
the pistils.

Fig. 203.—Dimorphic Flowers of Primrose.

Many flowers are pollinated by the wind. They are said to be
anemophilous (“wind loving”). Such flowers produce great
quantities of pollen, for much of it is wasted. They usually have
broad stigmas, which expose large surfaces to the wind. They are
usually lacking in gaudy colours and in perfume. Grasses and pine
trees are typical examples of anemophilous plants.
In many cases
cross-pollination is
assured because the
stamens and the
pistils are in
different flowers
(diclinous).
Monœcious and
diœcious plants may
be pollinated by
wind or insects, or
other agents (Fig.
204). They are
usually wind-
pollinated, although
willows are often, if
not mostly, insect-
pollinated. The
Indian corn is a
monœcious plant.
Fig. 204.—Flowers of Black Walnut: Two Pistillate flowers
at A, and staminate catkins at B.
The staminate
flowers are in a
terminal panicle
(tassel). The pistillate flowers are in a dense spike (ear), inclosed in
a sheath or husk. Each “silk” is a style. Each pistillate flower
produces a kernel of corn. Sometimes a few pistillate flowers are
borne in the tassel and a few staminate flowers on the tip of the ear.
Is self-fertilization possible with the corn? Why does a “volunteer”
stalk standing alone in a garden have only a few grains on the ear?
What is the direction of the prevailing wind in summer? If only two
or three rows of corn are planted in a garden where prevailing winds
occur, in which direction had they better run?
 Although most flowers
are of such character as to
insure or increase the
chances of cross-
pollination, there are some
that absolutely forbid
crossing. These flowers are
usually borne beneath or
on the ground, and they
lack showy colours and
perfumes. They are known
as cleistogamous flowers
(meaning self-fertilizing
flowers). The plant has
normal showy flowers that
may be insect-pollinated,
and in addition is provided
with these simplified
flowers. Only a few plants
bear cleistogamous
flowers. Hog-peanut,
common blue violet,
fringed wintergreen, andFig. 205.—Common Blue Violet. The familiar
flowers are shown, natural size. The corolla is
dalibarda are the best spurred. Late in the season, cleistogamous
subjects in this country. flowers are often borne on the surface of the
Fig. 205 shows a ground. A small one is shown at a. A nearly
cleistogamous flower of the mature pod is shown at b. Both a and b are
blue violet at a. Above the one third natural size.
true roots, slender stems
bear these flowers, that are provided with a calyx, and a curving
corolla which does not open. Inside are the stamens and the pistils.
Late in the season the cleistogamous flowers may be found just
underneath the mould. They never rise above ground. The following
summer one may find a seedling plant, in some kinds of plants, with
the remains of the old cleistogamous flower still adhering to the
root. Cleistogamous flowers usually appear after the showy flowers
have passed. They seem to insure a crop of seed by a method that
expends little of the plant’s energy. The pupil will be interested to
work out the fruiting of the peanut (Fig. 206). Unbaked fresh
peanuts grow readily and can easily be raised in Canada, in a warm
sandy garden.

Fig. 206.—Pods of Peanuts ripening underground.

Suggestions.—152. Not all the flowers

produce seeds. Note that an apple tree
may bloom very full, but that only
relatively few apples may result (Fig.
207). More pollen is produced than is
needed to fertilize the flowers; this
increases the chances that sufficient
stigmas will receive acceptable pollen to
enable the plant to perpetuate its kind.
At any time in summer, or even in fall,
examine the apple trees carefully to
determine whether any dead flowers or
flower stalks still remain about the apple;
or, examine any full-blooming plant to
Fig. 207.—Struggle for Existence among see whether any of the flowers fail. 153.
the Apple Flowers. Keep watch on any plant to see whether
insects visit it. What kind? When? What
for? 154. Determine whether the calyx serves any purpose in protecting the
flower. Very carefully remove the calyx from a bud that is normally exposed to
heat and sun and rain, and see whether the flower then fares as well as others.
155. Cover a single flower on its plant with a tiny paper or muslin bag so tightly
that no insect can get in. If the flower sets fruit, what do you conclude? 156.
Remove carefully the corolla from a flower nearly ready to open, preferably one
that has no other flowers very close to it. Watch for insects. 157. Find the nectar
in any flower that you study. 158. Remove the stigma. What happens? 159.
Which of the following plants have perfect flowers: pea, bean, pumpkin, cotton,
clover, buckwheat, potato, Indian corn, peach, chestnut, hickory, watermelon,
sunflower, cabbage, rose, begonia, geranium, cucumber, calla, willow, cottonwood,
cantaloupe? What have the others? 160. On wind-pollinated plants, are either
anthers or stigmas more numerous? 161. Are very small coloured flowers usually
borne singly or in clusters? 162. Why do rains at blooming time often lessen the
fruit crop? 163. Of what value are bees in orchards? 164. The crossing of plants
to improve varieties or to obtain new varieties.—It may be desired to perform the
operation of pollination by hand. In order to insure the most definite results, every
effort should be made rightly to apply the pollen which it is desired shall be used,
and rigidly to exclude all other pollen. (a) The first requisite is to remove the
anthers from the flower which it is proposed to cross, and they must be removed
before the pollen has been shed. The flower-bud is therefore opened and the
anthers taken out. Cut off the floral envelopes with small, sharp-pointed scissors,
then cut out or pull out the anthers, leaving only the pistil untouched; or merely
open the corolla at the end and pull out the anthers with a hook or tweezers; and
this method is often the best one. It is best to delay the operation as long as
possible and yet not allow the bud to open (and thereby expose the flower to
foreign pollen) nor the anthers to discharge the pollen. (b) The flower must next
be covered with a paper bag to prevent the access of pollen (Figs. 208, 209). If
the stigma is not receptive at the time (as it usually is not), the desired pollen is
not applied at once. The bag may be removed from time to time to allow of
examination of the pistil, and when the stigma is mature, which is told by its
glutinous or roughened appearance, the time for pollination has come. If the bag
is slightly moistened, it can be puckered more tightly about the stem of the plant.
The time required for the stigma to mature varies from several hours to a few
days. (c) When the stigma is ready, an unopened anther from the desired flower is
crushed on the finger nail or a knife blade, and the pollen is rubbed on the stigma
by means of a tiny brush, the point of a knife blade, or a sliver of wood. The
flower is again covered with the bag, which is allowed to remain for several days
until all danger of other pollination is past. Care must be taken completely to cover
the stigmatic surface with pollen, if possible. The seeds produced by a crossed
flower produce hybrids, or plants having parents belonging to different varieties or
species. 165. One of the means of securing new forms of plants is by making
hybrids. Why?
Fig. 208.—A Paper Bag,
with string inserted.

Fig. 209.—The Bag tied over a

Flower.

Fig. 210.—The fig is a hollow torus with flowers borne on the

inside, and pollinated by insects that enter at the apex.
 CHAPTER XX
FLOWER-CLUSTERS

Origin of the Flower-cluster.—We have seen that branches

arise from the axils of leaves. Sometimes the leaves may be reduced
to bracts and yet branches are borne in their axils. Some of the
branches grow into long limbs; others become short spurs; others
bear flowers. In fact, a flower is itself a specialized branch.
Flowers are usually borne near the top of the plant. Often they are
produced in great numbers. It results, therefore, that flower
branches usually stand close together, forming a cluster. The shape
and the arrangement of the flower-cluster differ with the kind of
plant, since each plant has its own mode of branching.
Certain definite or well-marked types of flower-clusters have
received names. Some of these names we shall discuss, but the
flower-clusters that perfectly match the definitions are the exception
rather than the rule. The determining of the kinds of flower-clusters
is one of the most perplexing subjects in descriptive botany. We may
classify the subject around three ideas: solitary flowers,
centrifugal or determinate clusters, centripetal or
indeterminate clusters.
Solitary Flowers.—In many cases flowers are borne singly; they
are separated from other flowers by leaves. They are then said to be
solitary. The solitary flower may be either at the end of the main
shoot or axis (Fig. 211), when it is said to be terminal; or from the
side of the shoot (Fig. 212), when it is said to be lateral or
axillary.
Centripetal Clusters.—If the flower-bearing axils were rather
close together, an open or leafy flower-cluster might result. If the
plant continues to grow from the tip, the older flowers are left
farther and farther behind. If the cluster were so short as to be flat
 or
conve
x on
top,
the
outer
most
flower
s
would
be the
older.
A
flower
-
cluster
in
which
the
lower
Fig. 212.—Lateral Flower of an Abutilon. Aor
greenhouse plant.
outer
flower
s open first is said to be a centripetal
Fig. 211.—Terminal Flowers of the
cluster. It is sometimes said to be an Whiteweed (in some places
indeterminate cluster, since it is the called ox-eye daisy).
result of a type of growth which may go
on more or less continuously from the
apex.
The simplest form of a definite centripetal cluster is a raceme,
which is an open elongated cluster in which the flowers are borne
singly on very short branches and open from below (that is, from the
older part of the shoot) upwards (Fig. 213). The raceme may be
terminal to the main branch; or it may be lateral to it, as in Fig. 214.
Racemes often bear the flowers on one side of the stem, thus
forming a single row.
When a centripetal flower-cluster is
long and dense and the flowers are
sessile or nearly so, it is called a spike
(Fig. 215). Common examples of spikes
are plantain, mignonette, mullein.
A very short and dense spike is a
head. Clover (Fig. 216) is a good
example. The sunflower and related
plants bear many small flowers in a very
dense and often flat head. Note that in
the sunflower (Fig. 189) the outside or
exterior flowers open first. Another
special form of spike is the catkin,
which usually has scaly bracts, the whole
cluster being deciduous after flowering
or fruiting, and the flowers (in typical
cases) having only stamens or pistils.
Examples are the “pussies” of willows
Fig. 213.—Raceme of Currant.
(Fig. 182) and flower-clusters of oak
Terminal or lateral? (Fig. 180), walnuts (Fig. 204), poplars.
When a loose, elongated centripetal
flower-cluster has some primary branches simple, and others
irregularly branched, it is called a panicle. It is a branching raceme.
Because of the earlier growth of the lower branches, the panicle is
usually broadest at the base or conical in outline. True panicles are
not very common.
When an indeterminate flower-cluster is short, so that the top is
convex or flat, it is a corymb (Fig. 217). The outermost flowers
open first. Centripetal flower-clusters are sometimes said to be
corymbose in mode.
 When
the
branches
of an
indetermi
nate
cluster
arise from
a
Fig. 214.—Lateral Racemes (in fruit) of Barberry.
common
point, like
the frame of an umbrella,
the cluster is an umbel
(Fig. 218). Typical umbels
occur in carrot, parsnip,
caraway, and other plants
of the parsley family: the
family is known as the
Umbelliferæ, or umbel-
bearing family. In the
carrot and many other
Umbelliferæ, there are
small or secondary umbels,
called umbellets, at the
end of each of the main
branches. (In the centre of
the wild carrot umbel one
often finds a single,
blackish, often aborted
flower, comprising a 1-
flowered umbellet.)

Fig. 216.—Head of Clover Blossoms.

 Fig. 215.—
Spike of
Plantain.

Fig. 217.—Corymb of Candy-tuft.

 Fig. 218.—Remains of a Last Year’s Umbel of Wild Carrot.
Centrifugal or Determinate Clusters.—When the terminal or
central flower opens first, the cluster is said to be centrifugal. The
growth of the shoot or cluster is determinate, since the length is
definitely determined or stopped by the terminal flower. Fig. 219
shows a determinate or centrifugal mode of flower bearing.
Dense centrifugal clusters are usually flattish on top because of
the cessation of growth in the main or central axis. These compact
flower-clusters are known as cymes. Centrifugal clusters are
sometimes said to be cymose in mode. Apples, pears (Fig. 220), and
elders bear flowers in cymes. Some cyme-forms are like umbels in
general appearance. A head-like cymose cluster is a glomerule; it
blooms from the top downwards rather than from the base upwards.
Mixed Clusters.—Often the cluster is mixed, being determinate
in one part and indeterminate in another part of the same cluster.
The main cluster may be indeterminate, but the branches
determinate. The cluster has the appearance of a panicle, and is
usually so called, but it is really a thyrse. Lilac is a familiar example
 of a thyrse. In some cases the main
cluster is determinate and the branches
are indeterminate, as in hydrangea and
elder.
Infloresce
nce.—The
mode or
method of
flower
arrangement
is known as
the
inflorescenc
e. That is,
the Fig. 220.—Cyme of Pear. Often
inflorescence imperfect.
is cymose,
corymbose, paniculate, spicate, solitary,
determinate, indeterminate. By custom,
however, the word “inflorescence” has
Fig. 219.—Determinate or Cymose
come to be used in works on descriptive
Arrangement.—Wild geranium. botany for the flower-cluster itself. Thus
a cyme or a panicle may be called an
inflorescence. It will be seen that even solitary flowers follow either
indeterminate or determinate methods of branching.
 Fig. 221.—Forms of Centripetal Flower-clusters.
1, raceme; 2, spike; 3, umbel; 4, head or anthodium; 5, corymb.

Fig. 222.—Centripetal Inflorescence, continued.

6, spadix; 7, compound umbel; 8, catkin.